Reactivação

este blog vai ser reactivado brevemente.

Enrique Vila-Matas, Entrevista

"Pueden ser necesarios años antes de que el artista dé con los códigos y los equilibrios correctos y pueda entrar y salir libremente de la visita a su propia obra. Aunque con la trilogía de la Catedral Metaliteraria, como la bautizó mi editor Jorge Herralde (Bartleby y compañía, El mal de Montano y Doctor Pasavento), había dado con una receta bastante idónea para entrar y salir de mis temas, decidí hace un año no caer en el error de otros de instalarme en mi propia fórmula".
Enrique Vila-Matas in Entrevista: Enrique Vila-Matas, El Pais 10.09.2007
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STREET LIT:
download - Carles Geli, Enrique Vila-Matas, PDF file 3p. (62KB)
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Giorgio Agamben, On Potentiality

"'On Potentiality' was held as a lecture in Lisbon, 1986, in the context of conference organized by the Collège international de philosophie"
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STREET LIT:
download - Giorgio Agamben, On Potentiality, PDF file, 7p. (105KB).
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Sobre a Impertinência das Obras de Arte

STREET LIT:
download - Filipe Pinto, Sobre a Impertinência das obras de Arte, PDF file, 8 p. (199KB)

Abbas Kiarostami (interview)

"It is a good idea when pictures and action guide you to something which is outside the story without actually showing it. I believe in Bresson’s method of creation through omission, not through addition.

(...)

"My car is my best friend. My office. My home. My location. I have a very intimate feeling when I am in a car with someone next to me. We are in the most comfortable seats because we are not facing each other, but sitting side by side. We don’t look at each other constantly, but instead do so only when we want to. We are allowed to look around without appearing rude. We have a big screen in front of us and side views. Silence does not seem heavy or difficult. Nobody serves anybody. And there are many other aspects to this experience, as well. One most important thing is that the car transports us from one place to another. "

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Bert Cardullo, The Accidental Auteur - A Dialogue with Abbas Kiarostami, Bright Lights Film Journal, Issue 55 (February 2007).

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STREET LIT:

download: Bert Cardullo, The Accidental Auteur, PDF file, 16 p. (178KB)

From Arendt to Agamben

From Agamben to Arendt

Two Covers

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Giorgio Agamben, O Cinema de Guy Debord

"Os historiadores do cinema assinalaram como uma novidade desconcertante o facto de que, em Monika de Bergman (1952), a protagonista, Harriet Andersson, fixa de repente o seu olhar na objectiva da câmara. O próprio Bergman escreveu a propósito desta sequência: “Aqui e pela primeira vez na história do cinema estabelece-se de súbito um contacto directo com o espectador”. Desde então, a fotografia e a publicidade banalizaram este procedimento. Estamos habituados ao olhar da estrela do porno que, enquanto faz aquilo que tem a fazer, olha fixamente a câmara, mostrando assim que se interessa mais pelos espectadores do que pelo seu partner."

Giorgio Agamben, O Cinema de Guy Debord.

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STREET LIT:

download - Giorgio Agamben, O Cinema de Guy Debord, PDF file, 5p. (77KB)

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Giorgio Agamben, O Fim do Pensamento

"Em nossa língua, a palavra pensamento tem por origem o significado de angústia, de ímpeto ansioso, que se encontra ainda na expressão familiar: stare in pensiero (estar atormentado). O verbo latino pendere, de onde deriva a palavra nas línguas romanas, significa estar suspenso."
Giorgio Agamben, O fim do pensamento. (versão brasileira)
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STREET LIT:
download - Giorgio Agamben, O Fim do Pensamento, PDF file, 2p. (48KB)
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Quotations about Political Art

"(...) emancipation can’t be expected from forms of art that presuppose the imbecility of the viewer" (Rancière)

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"The exploited have rarely had the need to have the laws of exploitation explained to them." (Rancière)

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"(...) the artist’s task is to hold them a arm’s length, inculcating a skeptical distance" (Kester)

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"The discourse, [Claire Bishop] argues, has focused mainly on the artist's process and intentions, or the project's socially ameliorative effects, to the neglect of the work's aesthetic impact." (Roche)

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STREET LIT:

download - Quotations about Political Art, PDF file, 2p. (53KB)

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Gabriel Orozco, Interview

"(...)I wasn’t interested in having a political experience with the public, nor an ideological one, meaning I tried to avoid using clichés like “What does it mean to be Mexican?” or “What is the nation?” et cetera. Mostly, I tried to face myself as an individual, as a person of a determined physique. I wanted to recuperate a sense of human scale in dealing with the public."

in Carmen Boullosa, Gabriel Orozco, Bomb Magazine 98 (Winter 2007)

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STREET LIT:

download - Carmen Boullosa, Gabriel Orozco, PDF file, 7p. (100KB)

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Michelangelo Antonioni, L'Eclisse

Robert Walser

"[T]he Walser tone, hovering between beatific quietism and a burlesque of conventionality, is detectable in the immortal reply he gave a man who visited him at an asylum and asked about his writing: “I am not here to write, but to be mad.”
Benjamin Kunkel, Still Small Voice - The fiction of Robert Walser, The New Yorker, August 6, 2007
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STREET LIT:
download - Benjamin Kunkel, Still Small Voice, PDF file, 8p. (100KB)
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Antonioni dies

Michelangelo Antonioni, Director, Dies at 94. (NYTimes)
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(El Pais)
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Ingmar Bergman dies

Ingmar Bergman, Famed Swedish Director, Dies at 89. (NYTimes)
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Giorgio Agamben, Metropolis

"Many years ago I was having a conversation with Guy (Debord) which I believed to be about political philosophy, until at some point Guy interrupted me and said: 'Look, I am not a philosopher, I am a strategist'. This statement struck me because I used to see him as a philosopher as I saw myself as one, but I think that what he meant to say was that every thought, however 'pure', general or abstract it tries to be, is always marked by historical and temporal signs and thus captured and somehow engaged in a strategy and urgency."
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STREET LIT:
download - Giorgio Agamben, Metropolis, PDF file, 4p. (70KB)
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Michel Foucault, Heterotopias (POR)

STREET LIT:
download - Michel Foucault, De Outros Espaços, PDF file, 8p. (104KB)
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Michel Foucault, Heterotopias

"This space of emplacement was opened up by Galileo. For the real scandal of Galileo's work lay not so much in his discovery, or rediscovery, that the earth revolved around the sun, but in his constitution of an infinite, and infinitely open space. In such a space the place of the Middle Ages turned out to be dissolved. as it were; a thing's place was no longer anything but a point in its movement, just as the stability of a thing was only its movement indefinitely slowed down. In other words, starting with Galileo and the seventeenth century, extension was substituted for localization."
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"For girls, there was, until the middle of the twentieth century, a tradition called the "honeymoon trip" which was an ancestral theme. The young woman's deflowering could take place "nowhere" and, at the moment of its occurrence the train or honeymoon hotel was indeed the place of this nowhere, this heterotopia without geographical markers."
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STREET LIT:
download - Michel Foucault, Of Other Spaces, PDF file 8p. (106KB)
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Vito Acconci (interview)

The Architectural Record Interview: Vito Acconci.
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Jacques Rancière, A Política da Arte

STREET LIT:
download the PDF file ready to print.
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Jacques Rancière, The Emancipated Spectator

"Being a spectator means looking at a spectacle. And looking is a bad thing, for two reasons. Firstly looking is put as the opposite of knowing. It means being in front of an appearance without knowing the conditions of production of that appearance or the reality which is behind it. Secondly, looking is put as the opposite of acting. He or she who looks at the spectacle remains motionless on his or her seat, without any power of intervention. Being a spectator means being passive. The spectator is separated from the capacity of knowing in the same way as he is separated from the possibility of acting."

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STREET LIT:

download the PDF file ready to print.

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Miwon Kwon, The Wrong Place

STREET LIT:
download the PDF file ready to print.
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Koolhaas & Houellebecq em Barcelona

Rem Koolhas e Michel Houellebecq em Barcelona no El Pais de hoje.
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Janine Antoni

"I am always taken with the experience of sitting on a seat in the subway and feeling the body heat of someone who sat there before me," Antoni comments. "Maybe I never saw them, but I feel very close. One body recognizes the warmth of another. I seek that recognition in ny work."

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in Martha Buskirk, The Contingent Object of Contemporary Art, The MIT Press, 2003, p. 143.

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Jerry Saltz: Curating

Jerry Saltz, The Alchemy of Curating.
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Texto do antigo crítico do Village Voice (agora na New York Magazine) sobre escolhas e práticas dos curators, "the men in black", no contexto de Veneza, Kassel e Münster.
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STREET LIT:
download the PDF file ready to print.
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Ferran Adriá na Documenta

lê-se no signandsight.com:
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Merthen Wortmann was allowed to watch, as a selected pair of Documenta, visitors to eat the art of Ferran Adria. "After four and a half hours, they are finally taking their coffee. How was it? Challenging. Stimulating. Fabulous. Was it art? Hard to say; but it was definitely an artistic experience. The man says, 'Some things, you suddenly taste again in a purity and intensity, as though it was a drug trip.' The woman says: 'I've rarely given so much thought to what I was actually eating.'"

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Brian Eno

Conferência de Brian Eno na Pop!Tech.
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Enrique Vila-Matas, Paul Auster e Sophie Calle

Vila-Matas e Auster no El País de 23/06/2007.
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Mauricio Kagel - Eine Brise

“O Festival Kagel [Buenos Aires, de 17 a 30 de Julho de 2006] teve sua autêntica linha de partida com Eine Brise (Uma brisa), a obra para 111 ciclistas que Kagel concebeu para uma aprazível cidade alemã habitada por muitos estudantes, cujas condições acústicas certamente são muito diferentes da caótica Buenos Aires. O esquadrão deveria passar às 20h00 na frente do Teatro Colón; às 19h30 procedeu-se a parar o trânsito nas ruas adjacentes, e às 19h45, as escadarias e a calçada da frente do teatro estavam lotadas por uma multidão cheia de expectativas, tanto mais, quanto mais irrepresentável parecia ser a ideia de uma obra para 111 ciclistas! A obra é, efetivamente, uma brisa. Dura o que dura o desfile dos ciclistas, uns noventa segundos; o esquadrão se distribui em agrupações simétricas, e cada intérprete-ciclista tem adjudicada uma série de efeitos vocais e ruídos diversos, embora tudo transcorra numa espécie de mezzopiano. O ruído de base de Buenos Aires encobriu os sussurros de Eine Brise, embora a obra produzisse assim mesmo as suas cócegas, que não são tanto auditivas quanto visuais: umas cócegas que se produzem tanto pela mera representação, como também pelo efeito cômico de seu desequilíbrio entre os esforços quase urbanísticos requeridos para a realização e a fugacidade mais extrema, algo assim como uma gigante miniatura.”
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[VER VIDEO]

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Federico Monjeau, “Maurício Kagel, compositor de vanguarda residente na Alemanha, apresentou-se em Buenos Aires”, Humboldt 94 Ano 49/2007 (versão brasileira).

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(em 1998 os 22º Encontros Gulbenkian de Música Contemporânea foram, em parte, dedicados a Mauricio Kagel, juntamente com Emmanuel Nunes)

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nome

"My work is like the light in the fridge: it only works when there are people there to open the fridge door."

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Liam Gillick, Interview, September 2000, RENOVATION FILTER: RECENT PAST AND NEAR FUTURE (Bristol: Arnolfini, 2000)

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